sla 40 manual - studiomaster professional · 2 1. introduction thank you for purchasing the...

Index:

1.............................................................................................................Introduction

2.............................................................................................................Features at a Glance

3.............................................................................................................onfiguring & Setting-Up

4......................................................................................................... ...Rigging Instructions

5.............................................................................................................Flying Patterns

6.............................................................................................................Connection Diagrams

7.............................................................................................................Technical Specifications

SLA 40Line Array System

IN

ST

RU

CT

IO

N

MA

NU

AL

1

2

1. Introduction

Thank you for purchasing the Studiomaster Professional SLA 40 Line Array System.

To ensure optimum performance and safety, please follow this instruction manual carefully.

Please retain this manual for future reference.

For any complaint, feedback or testimonials please contact our distributor / dealer.

The SLA 40 is a specially designed loudspeaker module designed to form a vertical stack in varying numbers.

This stack is usually flown to provide superior sound coverage in the intended listening areas. Stacked SLA 40

modules form a line array for constructive summing and increased coupling. Sound dispersion of SLA 40 array

has a very narrow vertical dispersion angle. Therefore sound can be precisely directed where audience is

present.

The SLA 40 has a maximum hinge of 10°, variable in steps of 2°. This hinge is enough to provide necessary tilt

in a typical J or spiral array. The SLA 40 is capable of producing peak SPL of 132dB with its dual LF drivers and

twin HF drivers. For achieving even sound pressure levels in the audience areas, SLA 40 is provided with a

switch for altering its sensitivity from nominal 0dB to -3, - 6 and -9dB. The SLA 40 has a full frequency response

ranging from 80Hz to 20kHz. However for delivery of bass frequencys, it is complemented with Subwoofer

model SLA 40S, SLA 40S is designed for ground level stacking.

SLA 40T: The SLA40T incorporates 2 x 8”

Mid-Bass transducers & 1” High Duty HF transducer

with state of the art Waveguide horn, all comprised

into a sleek & lightweight enclosure. This Array

module has a horizontal coverage angle of 100°

& vertical Coverage angle of 10°.

SLA 40 System Consists of:

SLA40T Dual 8", 2-Way 400 Watts @ 8 Ω, Passive Line Array Module.

About Waveguides:

Sound Waves in open space propagate in all directions, this way they lose their

power significantly. In order to counter this problem the SLA-40T incorporates

waveguide driver to ensure maximum control on power & dispersion. This ensures

pure performance and negates the possibilities of phase cancellations.

SLA 40SDual 15", 800 Watts @ 4 Ω, Passive Line Array Sub Woofer.

SLA 40S: The SLA-40S incorporates 2 x 15”

Powerful Low Frequency Transducers for extended

sub filling. The enclosure is specially designed to

deliver high SPL and long excursion, without being

very bulky.

Important Concept of Line Array:

In the case of normal loudspeakers, as sound travels, its SPL (Sound Pressure Level) falls by 6dB for every

doubling of distance. In the case of a Line Array the fall in SPL is 3dB for every doubling of distance up to a

certain distance called transition point. Beyond that the fall in SPL is 6dB for every doubling of distance as in

the case of normal loudspeakers.

The transition point is dependent on the length of the line array. Longer the array, further away is the transition

point. Therefore if near equal SPL is desired spanning the front row to the last row, it is recommended to have

more numbers of SLA 40T enclosures stacked vertically in spiral formation.

3

SLA 40KIT Fly Bars & Quick Release Pins.

SLA40 Kit: The SLA40 Kit is set of essential

hardware required for rigging & flying this line

array system. It consist of ultra durable Flybars /

Array Frames & Quick Release Pins

(Push-Pull Bullets). This kit makes flying the

SLA40 Series a child’s play.

2. Features at a Glance

• Higher direct to reverberant ratio due to the directional nature of the system.

• Increased feedback rejection due to directionality in vertical plane & therefore more acoustic gain available.

• Frequency response is uniform over the coverage area.

• Because of increased HF throw of the system, need for delay stacks is eliminated or reduced.

• Even sound pressure level can be achieved over the entire listening area by proper articulation of the vertical

array formed by SLA 40.

• More stage space available as SLA 40 arrays are flown.

3. Configuring & Setting-Up

SLA 40T enclosures can be flown or ground stacked. For small venues or temporary/rental installations where flying

SLA 40T may not be possible, these can be ground stacked on top of its sub-woofer SLA 40S.

When ground stacked, the SLA 40T enclosures are generally kept straight i.e., all enclosures have 0° tilt without any

splay. Two to four SLA 40T enclosures may be adequate for small venues. A pair (in Left & Right placement) of this

set-up i.e., two to four SLA 40T with one SLA 40S will provide very even coverage and used for stereo reproduction of

program as well.

As a thumb rule for every four nos. of SLA 40T one SLA 40S subwoofer should be employed. When multiple

sub-woofers are used it is better to stack these together for coherent lows. The location of the sub-woofers should be

beneath the stage and centrally positioned.

When SLA 40T enclosures are flown, it is possible to configure these in any one of the following

formation:

Straight Array – In this type all enclosures have 0° tilt. ll modules

are arrayed vertically without any downward tilt. This formation

gives a narrow long throw beam. Such an array will not find

deployment in a practical setup because of its very narrow coverage

in vertical plane.

A

SLA 40T disperses sound as a line source with a vertical beam angle of 10° & horizontal beam angle of 100°. A very

simplistic depiction of this is shown below.

HORIZONTAL BEAM

100°

VERTICAL BEAM1

0°

4

Curved Array – In this type, the enclosures are configured as an

arc of a circle. The upper enclosures radiate sound upwards toward

the ceiling & the lower enclosures have a wide lower fill. Such an

array has the widest possible coverage in the vertical plane & is not

suitable for long throw requirement. This configuration is suitable for

small venues and if installed indoors, the venue should have acoustic

treatment with highly absorbent ceiling.

Spiral or Progressive Array - Unlike a J-Array, spiral or progressive

array is a continuous curve. The upper portion of the array is nearly

straight but then increases in curvature towards the bottom. Most small

and mid-sized venues get covered very well with this type of array

formation and we recommend this formation when installing four to

eight SLA 40T. This would be the situation with majority of the installers

of SLA 40T. With this configuration one can expect very uniform

coverage over the entire audience area. In a spiral array the angle

between successive enclosures changes by a predetermined incremental

angle. SLA-40T has provision for 0°-2°-4°-6°-8°-10° tilt angles.

J-Array – This is a combination of straight and curved arrays. In the

real world Line Arrays are almost always used as curved vertical arrays.

A large venue may consist of a dozen enclosures, with top two to four

enclosures straight with 0° vertical splay, aimed at the farthest seats.

As we move down the array, the angle between adjacent enclosures

increases until at the bottom there are one or two modules aimed

almost straight down to cover the front seating area. Therefore a

J-Array has upper portion of the array as straight and then increases

in curvature toward the bottom giving the array the shape of letter J.

Therefore the incremental angle of 2° will yield 0°, 2°, 6°, 12°, 20°, 30°,40°, 50° aiming angles relative to the

horizontal when eight SLA 40T enclosures are flown. The topmost module has 0° tilt and lowest (eighth) has 50° tilt

relative to horizontal.

Powering of topmost enclosure is at full power and subsequent ones are progressively turned down a little. This way

a reasonably even coverage with almost equal SPL in the front seating area and farthest seating area is achievable.

SLA40T has a switch for providing HF attenuation of -3dB,-6dB, & -9dB. This feature can be utilized during

equalization of the frequency response. A reasonably even frequency response in the entire listening area is also

aided by the wave-guide loaded HF drivers of SLA 40T.

-9d

B-6dB-3dB

-0dB

Sensitivity Settings: The sensitivity knob is located on rear panel of the

SLA 40T. This is used to adjust the HF attenuation of the SLA 40T module.

A flat screwdriver can be used to change settings as required.

Splay / Tilt Angle: This set of angled grooves can be used to tilt the

modules in perspective to the other stacked modules, in order to form the

numerous flying configurations.

10° 8° 6° 4° 2° 0°

5

Array flown at a height of 5m (16.5’).

Area of even coverage: 13m (40’) to 55m (80’).

Array flown at height of 6m (20’).

Area of even coverage: 16.5m (55’) to 66m (215’).

For compensating the lower SPL in the sound shadow area between the suspension point of line

array and 13m from it, front fill speakers have to be employed.

Four SLA 40T Array

6

Array flown at a height of 6m (20’).




Front fill speakers will be required for compensating the lower SPL in the front audience area.

Six SLA 40T Array

SPLAY HOLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 4°4. SLA 40T 6°

TILT ANGLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 6°4. SLA 40T 12°

SPLAY HOLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 4°4. SLA 40T 6°5. SLA 40T 8°6. SLA 40T 10°

TILT ANGLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 6°4. SLA 40T 12°5. SLA 40T 20°6. SLA 40T 30°


Area of even coverage: 3m(10’) to 66m (220’)


Area of even coverage: 4m (13’) to 90m (300’)

Flying eight SLA 40T offers no advantage in long distance coverage, but no front fill speakers will be needed

as the lowest SLA 40T with a steep downward tilt covers the front area.

Eight SLA40T Array

7

4. Rigging Instructions

• The SLA 40T can be rigged using the SLA 40 KIT, as set of essential hardware required for rigging & flying this

line array system. It consists of ultra durable Flybars / Array Frames & Quick Release Pins (Push - Pull Bullets).

SLA 40 Kit

Flybars / Array Frames Quick Release Pins (Push-Pull Bullets)

• SLA 40T should always be flown with the flybar of Studiomaster Professional SLA 40 Kit. It will ensure the

accuracy and safety of the rigging.

• The ideal height at which the frame should be flown is between 5m to 8m. In auditoriums and churches, a single

line array comprising of 4 to 6 SLA 40T modules should be adequate. This array is normally flown in the centre

of the auditorium or church above the stage proscenium in the vertical plane at the edge of the stage towards

the audience.

TILT ANGLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 6°4. SLA 40T 12°5. SLA 40T 20°6. SLA 40T 30°7. SLA 40T 40°8. SLA 40T 50°

SPLAY HOLE1. SLA 40T 0°2. SLA 40T 2°3. SLA 40T 4°4. SLA 40T 6°5. SLA 40T 8°6. SLA 40T 10°7. SLA 40T 10°8. SLA 40T 10°

8

Speakon Wiring Guide

Not Connected

+

- 2+ 2-

1- 1+

The pin arrangement of speakon connector for full range:

1+ = In (+) 1- = In (-) 2+ = Not used 2- = Not used

Connection

The Studiomaster Professional SLA 40 system is equipped with high quality speakon connectors. Two connectors

are installed in parallel allowing an additional speaker set to be installed.

• The suspension point should be five to ten feet away from the active area of the stage to minimize feedback.

• Always consult the venue architect or maintenance personnel before flying the array especially in a fixed

installation.

• Make sure the speaker is mounted on a stable & sturdy surface/ceiling/wall in case the system is used in a fixed

installation.

•

single motor.

Please secure the flybar with an additional safety chain, especially when the modules are suspended with a

Note: Studiomaster Professional is not liable for any accident caused due to negligence of the safety instructions,

improper usage, use of inferior quality trusses, chain pulley systems, other flying accessories & mounting on

surfaces which are not strong enough to support the weight of the speakers.

• It is recommended to employ a chain-pulley system for flying the array with a chain length so that the array can

descend to a level where it can be adjusted for curve articulation and sensitivity setting while standing. The

chain block is to be suspended on the trussing limb above the false ceiling. A 0.5 ton chain-pulley system can

be employed for flying up to 15 SLA 40T modules provided the trussing limb can take the weight.

9

4. Multiple flown arrays

This configuration is to provide side fill for

audience spread out widely on either side of

the stage.

Left/ Center/Right Positioning

STAGE

3. Left/ Centre/ Right flown arrays

This flying configuration may be needed when

the stage is very wide & centre fill is required

for providing even coverage.

Left/ Right Positioning

STAGE

2. Left/ Right flown arrays

This flying configuration is suitable for outdoor

venues where wider horizontal coverage is required.

The arrays are usually flown on each end of the

stage.

5. Flying Patterns

Multiple Array Positioning

STAGE

1. Centrally flown single array

A centrally flown single array is suitable for indoor

installation where the room is not very wide.

SLA 40T has a wide horizontal dispersion and will

be able to evenly disperse sound in rooms with

a width of within 25m.

Center Positioning

STAGE

10

Amplifier

PA 2.0 (1) CH.1

PA 2.0 (1) CH.2

PA 2.0 (2) CH.1

PA 2.0 (2) CH.2

PA 1.5 (Bridged output)

Driving

SLA 40T (1)

SLA 40T (2)

SLA 40T (3)

SLA 40T (4)

SLA 40 S

PHC/

Impedance

400W/8Ω

400W/8Ω

400W/8Ω

400W/8Ω

1000W/4Ω

Power

Available

500W RMS

500W RMS

500W RMS

500W RMS

1600W RMS

Angle*

(As A Guideonly)

0°

4°

6°

10°

6. Connection Diagrams

Mono Setup: (4 x SLA 40T) + (1 x SLA 40S) + (2 x PA 2.0) + (1 x PA 1.5)

SLA 40S

CH1

PROFESSIONAL STEREO AMPLIFIER

TOURING SERIES 2.0

0 10

IO

On Mute Sign Lim Temp

CH2

0 10On Mute Sign Lim Temp

P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

SLA 40T

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P Series

11

Amplifier

PA 2.0 (1) CH.1

PA 2.0 (1) CH.2

PA 2.0 (2) CH.1

PA 2.0 (2) CH.2

PA 2.0 (3) CH.1

PA 2.0 (3) CH.2

PA 2.0 (4) CH.1

PA 2.0 (4) CH.2

PA 2.0 (5) CH.1

PA 2.0 (5) CH.2

PA 2.0 (6) CH.1

PA 2.0 (6) CH.2

PA 1.5 (1) (Bridged Output)




Driving

L:SLA 40T (1)

L:SLA 40T (2)

L:SLA 40T (3)

L:SLA 40T (4)

L:SLA 40T (5)

L:SLA 40T (6)

R:SLA 40T (1)

R:SLA 40T (2)

R:SLA 40T (3)

R:SLA 40T (4)

R:SLA 40T (5)

R:SLA 40T (6)

SLA 40S (1)

SLA 40S (2)

SLA 40S (3)

SLA 40S (4)

PHC/

Impedance

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

400W RMS/8Ω

1000W RMS/8Ω

1000W RMS/8Ω

1000W RMS/8Ω

1000W RMS/8Ω

Power

Available

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

500W RMS

1600W RMS

1600W RMS

1600W RMS

1600W RMS

Angle*

(As A Guideonly)

0°

2°

4°

6°

8°

10°

0°

2°

4°

6°

8°

10°

Stereo Setup: (6 x SLA 40T) + (4 x SLA 40S) + (6 x PA 2.0) + (4 x PA 1.5)

SLA 40S

SLA 40T

SLA 40S

SLA 40T

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P Series

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P Series

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P Series

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P Series

12

0 -10dB

SM 900C

10

8

GAIN

1

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

1

10

8

GAIN

2

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

2

10

8

GAIN

3

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

3

10

8

GAIN

4

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

4

10

8

GAIN

5

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

5

10

8

GAIN

6

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

6

10

8

GAIN

7

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

7

10

8

GAIN

8

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

8

10

8

GAIN

9

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

9

10

8

GAIN

10

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

10

10

8

GAIN

11

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

11

10

8

GAIN

12

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

12

10

8

GAIN

13/14

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

13/14

10

8

GAIN

15/16

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

15/16

10

8

GAIN

17/18

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10

+5

0dB

-5

-10

-20

8

17/18

10

8 8 8 88 8

GAIN

19/20

60dB

3020

40

-

HF12kHz

+

- +

MF

350 +

450 5k

- +

LF60Hz

0 10

0 10

0 10

0 10

L R

EFX

AUX1

AUX2

MONO

PAN

PEAK

LISTEN

L-RGROUP

+10 +10 +10 +10+10

+5 +5 +5 +5+5

0dB 0dB 0dB 0dB0dB

-5 -5 -5 -5-5

-10 -10 -10 -10-10

-20 -20 -20 -20-20

8 8 8 88

19/20 GROUP MONO LEFTEFX RIGHT

LEFT/MONO

LEFT/MONO

LEFT/MONO

LEFT/MONO

RIGHT RIGHT RIGHT RIGHT

PLATINUM MKIII28 input mixer

PHONE

0 10

AUX1/MUTE

DELAY

MEN1

MEN2

MEN3

MEN4

PEAK

ON

WARM

BRIGHT ON

EFX B EFX EQ REGEN

EFX TO MON

MAX

MIN

MAX

MIN

PEAK

+8

+6

+4

+2

0dBu

-3

-6

-9

-12

-20

LEFTL-R

LISRENSPLIT

RIGHTMON

STAND BY

+129

6

-129

3L-R 0dB

36

+129

6

-129

30dB LEFT

36

+129

6

-129

3MON 0dB

36

+129

6

-129

30dB RIGHT

36

DATA ENTRY

EFX TYPE

METER/PHONESSELECT

L-RMON

GRAPHICASSIGN 2

L-RMON

STEREOAUX1INPUT

TO MON

LEVEL

0 10

L-RGROUP

48V PHANTOMPOWER

PLAY BACK

RIGHT

LEFT/MONO

STEREOAUX1 INPUT

RECORD

L R

data FEX

32bit DIGITALPROCESSOR

INTELLIGENT USER INTERFACE

GRAPHICASSIGN1

8.8.8.DISPLAY

EFFECT TYPE

DELAY 100msec, -3.1 sec. 100 msec.-450 msec. 20 msec. 95 msec. 250 msec. 600msec.

59-63 64-74 75-83 84-92

REVERSE MULTI TAP DELAY SINGLE SHORT SINGLE MEDIUM

DISPLAY

EFFECT TYPE

DELAY 100 msec. -600 msec.

93-110 111-114 129-147

REGEN (20% & 40%F.D) PANNING PITCH SHIFT

115-119 120-123 124-128

PHASER CHORUS FLANGER

DISPLAY

EFFECT TYPE

DELAY 400msec, 3.1 sec. 500msec, 4.2 sec. 1.0 sec. -10.0 sec. 10 0msec. -450 msec.

1.9 19-27 37-45 55-5810-1B 28-36 46-54

PLATE ROOM HALL GATEPLATE HI DAMP ROOM HI DAMP HALL HI DAMP

CH1


TOURING SERIES 3.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

STEREO 2 WAY MONO 3 WAYCROSSOVER

SX - 42190° 90°

0° 0°180° 180°

0 0

+6 +6

0 0

+12 +12

X10 X10

0 0

+12 +12dB dBdB dB

80 80

45 45950 950Hz HzdB dB

INPUT

INPUT INPUT

CHANNEL 1 CHANNEL 2

LF(NORMAL/SUM) OUT LF(NORMAL) OUT

LF OUT MF OUT

LF/HF XO LF/HF XO

LF/MF XO MF/HF XO HF OUT

HF Out HF OUTSTEREO

8 88 88 8

XO (Freq) XO (Freq)MODE

MONO

Phase PhaseLevel Mute Level MuteLevel Mute Level MuteLevel Low-cut Level Low-cut

On OnMute MuteMute Mute

Off OffOff OffOff Off

30Hz 30HzRED: LF SUMGREEN: NORMAL

RED: MONOGREEN: STEREO

ļ

O N

PA 1.5

h

CH1


TOURING SERIES 2.0

0 10

IO


CH2


P Series

CH1


TOURING SERIES 1.5

0 10

IO


CH2


P SeriesO N

r

UP DOWN

POWER

MR-12UHF 48CHSINGLE CHANNEL

MENU

AUTOUHF SYNTHESIZED ANTENNA DIVERSITY WIRELESS MICROPHONE RECEIVER

VOLUME

PLL

DYS 12M DYS 12M

Acoustic Guitar

Bass GuitarSM 500XLR

SM 300I

SM 900C

PLATINUM MKIII

LEFT/MF-HF OUT RIGHT/MF-HF OUT

SLA 40S SLA 40S

SLA 40T SLA 40T

PA 2.0

(Parallel mode)

PA 2.0

(Parallel mode)

PA 3.0

(Stereo mode)

LF

OU

T

LF

OU

T

AUX OUT

MR 12

Keyboard/Organ

SX - 421

Live Setup

ML-12

BELT-PACK WIRELESS TRANSMITTER

UP DOWN

POWER

13

Dimensions

1015mm 590m

m

510

mm

758mm

23

0m

m

367mm

SLA 40T

SLA 40S

7. Technical Specifications

Note: The Flybar from the SLA 40Kit has a maximum weight bearing capacity of 190 Kg's (i.e maximum 8 Nos. of

SLA 40T)

14

SLA 40Kit

485mm

753mm

Models:

System Type:

Frequency Range (-10 dB)

Frequency Response (±3 dB)

Horizontal Coverage Angle

Vertical Coverage Angle

Crossover Frequency

Power Rating (Continuous/Program/Peak)

System Maximum SPL

System Sensitivity (1w @ 1m) dB

Inside LF Driver

Inside HF Driver

Nominal Impedance

Enclosure (Finish, Grill)

Input Connectors

Dimensions (WxDxH) mm

Net Weight

SLA 40T

2-Way Full Range

75Hz -20kHz

85Hz-19kHz

100°

10°

1700HZ

400W/800W/1600W

132 dB

100

2x8" Woofer

2x1.5" Driver

8 Ω

15 mm

SPEAKON NL - 4 ( x 2)

758 x 367 x 230

23 Kgs

SLA 40S

Sub Woofer

30-350Hz

40-340Hz

-

-

-

800W/1600W/3200W

136 dB

101

2x15" Woofer

-

4 Ω

18 mm

SPEAKON NL - 4 ( x 2)

1015 x 590 x 510

49.5 Kgs

15

SX 421 (Active Crossovers)

Power Supply

Power Consumption

Fuse

Slope

Operation-Modes

Input

Input Impedance

Output

Output Impedance

In/Out Connectors

S/N Ratio

Xover Frequency Range

THD

Crosstalk

Input Gain

Output Gain

Low Cut

Dimensions (W x D x H)

Net Weight

240 V AC, (50-60 Hz

10 W

T 0.5 A

24 dB / Octave

2-Way-Stereo Or 3-Way-Mono

Mono/stereo

Unbal: 10 k Ω , Bal: 20 k Ω

Mono/Stereo

Unbal: 300 k Ω , Bal: 150 k Ω

Balanced XLR,

>100 dB

45 Hz – 9.5 kHz

0.05%

>80 dB, -3 dB

0 to +6 dB

0 to +12 dB

30 Hz, -3 dB

483 x 120 x 44.5 mm

2 kg

)

PA Series Technical Specifications:

Technical Specifications:

Model

RMS Continuous

Power Rating Stereo

Bridged

Single Channel Driven

Damping Factor

Frequency Response

Protection Devices

Input Connector (Per Channel)

Output Connector (Per Channel)

Cooling

Indicators (Per Channel)

Dimensions ( W x D x H )mm

Net Weight In Kg

Power Output Level

PA 1.5

2 (2 x 800W RMS)

4 Ω (2 x 650W RMS)

8 Ω (2 x 350W RMS)

4 Ω (1600W RMS)

8 Ω (1300W RMS)

2 Ω (900W RMS)

4 Ω (750W RMS)

8 Ω (380W RMS)

>200:1 ( 8 Ω )

20Hz-20khz ( -3dB )

Temperature, DC RFI Short Circuit, Soft-Start, Thermal Power Transformer.

XLR, Jack Stereo 6.3mm

Speakon Connector

2 Variable Speed Fans

On, Signal, Limiter, Mute & Temperature.

482 x 455 x 88

17

Ω

PA 2.0

2 (2 x 1000W RMS)

4 Ω (2 x 800W RMS)

8 Ω (2 x 500W RMS)

4 Ω (2000W RMS)

8 Ω (1600W RMS)

2 Ω (1200W RMS)

4 Ω (1050W RMS)

8 Ω (670W RMS)

>200:1 ( 8 Ω )

482 x 455 x 88

18

Ω

PA 3.0

2 (2 x 1500W RMS )

4 Ω (2 x 1100W RMS )

8 Ω (2 x 700W RMS )

4 Ω (3000W RMS)

8 Ω (2200W RMS)

2 Ω (1920W RMS)

4 Ω (1230W RMS)

8 Ω (750W RMS)

>400:1 ( 8 Ω)

482 x 455 x 130

28

Ω

* Design and specification are subject to change without notice

Rev0

0/S

MS

LAS

/Feb

201

2 is a registered trademark of Audioplus in India. © Copyright Audio plus, 2008. All rights reserved. Any unauthorised reproduction or use of logos,

images or design elements is strictly prohibited by law. No part of the compilation may be reproduced in any manner or translated without written permission.

A1/A2, Giriraj Industrial Estate, Mahakali Caves Road, Andheri (East), Mumbai - 400 093. India Tel.: 022 - 30880743 776 /

66916232 / 33 Fax: 022-26871453 E [email protected] W www.audioplus-india.com/www.studiomasterprofessional.com

Range of Studiomaster Professional Products.

~ Diamond Club Series Diamond Club 6.2 Diamond Club 8.2 Diamond Club 12.2 Diamond Club 12.2EFX Diamond Club 12.2USB Diamond Club 12.2UR Diamond Club 16.2 Diamond Club 16.2EFX

~ Diamond Supreme Series Diamond Supreme 7 Diamond Supreme 12 Diamond Supreme 16 ~ Club 2000 Series C 102 C 102EFX C 142 C 142EFX C 182

~ Platinum Series Platinum Basic MKI Platinum MKIII

~ Pro III Series Pro 12.3 Pro 16.3~ Pro VI Series Pro 16.6 Pro 24.6

~ DJ Mixers DJX 300MKI Playmix 300 DJX 626 DJX 800 DJX 925 DMX 5

CD/USB Media Player MP 4000 MP 2000

~ LPA Series LPA 600 LPA 1000

~ DJA Series DJA 100 DJA 500 DJA 1000

~ PAT Series PAT 1.5

~ PAX Series PAX 1.5 PAX 2.0 PAX 3.0

~ DPA Series DPA 2000 DPA 3200 DPA 4500 DPA 5000

~ Industrial Amplifier SM 9612

~ SL 9000 Series SL 9120 SL 9240 SL 9480

~ S-Series SWF 18120 SWF 18100 SWF 1880 SWF 1560 SMB 1545 SMB 1230 SHF 0104 SHF 0210

~ E-Series EMB 1225 EMB 1530

~ S-Series S5215 S5225 S8018 S8028

~ DYS Series DYS-315 DYS-415 DYS-118 DYS-12M

SM 100XLR SM 200XLR SM 300I SM 400XLR SM 500XLR SM 600XLR SM 800C SM 900C SBM 10 Flex 2 Flex 4

BR 11 Series BR 12 Series BR 21 Series BR 28 Series ER 11 Series ER 58 Series DR Seres KR Series GR 12 Series MR 12 Series

~ XVP Series XVP1520 XVP1540 XVP1540M XVP2520 XVP2580 XVP2585

~ Line Array System SLA-40 SLA-40 Sub SLA-40 Kit

~ B Series B 200 B 400~ OP Series O 215 O 415~ SUB Series O 12SUB O 15SUB O 18SUB

Sat 5 Sat 10S

SPA 25FX SPA 80FX

SVC - S1000 SVC - S2000 SVC - S3000 SVC - S5000 SVC - S8000 SVC - S10000

SS 10B SS 20S WS 10

Wired Microphones

Wireless Microphones

Crossovers

Processors

Mixers

Mixers

Amplifiers

Amplifiers

Passive Speakers

Passive Speakers

Stabilizers

Component Speakers

Sound Box

Powered Speakers

Speaker Stands

SX-2SX-321SX-421SX-521

DD 1000SEQ 152Multi IIIPhantom 11

~ Basic SeriesBasic CUBBasic 14Basic 14EFX

~ Air SeriesAiR 2AiR 4AiR 6AiR 8AiR 12AiR 24

Active Monitors

sla 40 manual - studiomaster professional · 2 1. introduction thank you for purchasing the...

Documents