Area 5.1 5.
Area 5.1 Model 2047 -Manual Version 1.0 - 5/2000 The information in this document has been carefully verified and is assumed to be correct. However Sound Performance Lab (SPL) reserves the right to modify the product described at any time. Changes without notice. This document is the property of SPL and may not be copied or reproduced in any manner, in part or full without the authorization of SPL.
Introduction ............................................................................................... 3 Contents Feature List ................................................................................................. 7 Installation ................................................................................................. 4 Standard Recording Setup .................................................................... 4 SPL Mic Array ......................................................
Installation Connect all devices BEFORE switching on the Area 5.1 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.
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" unbalanced jack or balanced XLR outputs of the Area 5.1. Standard Recording Setup 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.
SPL Mic Array The SPL Mic Array was designed to arrange any suitable microphones 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.
Ch. 1-4 Lock 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. Operation Preamplifier 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.
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. Operation Stereo downmix stages Stereo downmix stages The Area 5.1 allows to record 5.1 and stereo signals in parallel.
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. 30.000 µf capacitors smooth out the positive and negative half waves. Power Supply 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.
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.
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Sound Performance Lab Sohlweg 55 D-41372 Niederkrüchten, Germany Phone: +49 · 2163 · 98340, Fax: +49 · 2163 · 983420 Website: www.soundperformancelab.com Mail to: info@soundperformancelab.com „NEVER let it be said that SPL is a dull company.“ Dave Foister, Studio Sound Area 5.
